Consideraciones sobre el “Prólogo” de Don Quijote de 1605 (original) (raw)
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Past Tense, 2017
Translated into dozens of languages and published thousands of times in numerous countries around the world in its 411 years of existence, Miguel de Cervantes Saavedra’s (1547-1616) The Ingenious Hidalgo Don Quixote of La Mancha has attained recognition as one of the most read books in western culture. Various reproductions of Don Quixote over the last four centuries include parodies, plays, paintings and illustrations, cartoons, comic books, movies and music. Of the many text editions in existence today this short study will address a particular copy of Cervantes Don Quixote: The History of the valorous and witty-knight-errant Don Quixote of La Mancha, Translated out of the Spanish [by T. Shelton] now newly corrected and amended (1652), along with a few of the people who produced this seminal work and several of the notable individuals who have owned it through time.
The metaliterary nature of Cervantes' Don Quixote and of its characters, gives us a valuable opportunity to explore contemporary interpretive communities and their connections with the printed book. The act of reading in Don Quixote is at the heart of the narrative development of the novel; it is its driving force, moulding and giving shape to the characters. Every character is a reader, and is perceived as such not only by the other figures in the novel, but also by us, the actual readers. By exploring Don Quixote, we can gain some remarkable insights into the cultural practices of the period.1 Beyond the historical evidence, which seems inevitably to merge with the fictional nature of the novel and with the narrative and metaliterary role of its actors, the identification of these cultural practices, of their agents and contexts , enable us to take a closer look at the interpretative mechanisms that these readers adopt and use, mechanisms that are interconnected with the process of reception and cultural 'appropriation':2 […] by adding the description of the specific materiality in the Cervan-tine narration to the cultural practices that the novel recalls (oral, visual, writing practices and, moreover, their articulation in hybrid forms), as well as to the social relationships that it documents, we can explain many different cultural aspects of Don Quixote and explore the variety of memory and communication practices in the European Modern Age.3
Anales cervantinos, 2023
This article aims to make an apologia for Noli as the first translator of Don Quixote by Cervantes and also highlight his contribution as the first critic of this work. To achieve this, our study adopts a reception aesthetics approach and a historical perspective, analysing both the horizon of expectation for Don Quixote in Albania, as well as Noli's translation in the light of various translation theories and schools. This article examines a great literary work written about four centuries ago, which represents a complexity resulting from the temporal distance of reception, not only in terms of publication but also in translation, within entirely different cultural, social, and ideological contexts. Noli has been able to guide Albanian readers towards the reading of a masterpiece, with the hope that this novel highly valued would become popular among Albanians and influence Albanian aesthetic and political thought.
Bulletin of Hispanic Studies, 2019
Don Quixote is a book about books with a clear awareness of the act of writing, reading and telling stories. Orality is a key feature in Cervantes’s masterpiece, particularly in characters becoming storytellers throughout the first part, just as in Italian short stories. Yet the Italian influence on the act of telling stories in Don Quixote Part 1 can be addressed in more depth. This article examines the dialogue established by Cervantes with the novella, especially in creating the illusion of orality, and recreates the intertextual dialogue in three episodes, namely the prologue of Don Quixote Part I, the tale narrated by Sancho about shepherdess Torralba and shepherd Ruiz López, and Don Quixote’s tale about a widow and a ‘mozo motilón’. Such considerations allow us firstly to compare Cervantes’s prologue to Decameron’s Fourth Day foreword; secondly to encapsulate the features common to oral tales and the Italian novella; and finally, to explore the different oral skills performed by Sancho and his master.
Who Is in the Back Room?: The Intertextuality of Don Quixote and El cuarto de atrás.
Miguel de Cervantes's El ingenioso hidalgo Don Quijote de la Mancha (1605Mancha ( , 1615 contributes to the literary canon in at least three major ways. First, it recapitulates and borrows from nearly all literatures of its own time. Second, it reworks these literatures into something entirely new that strikes even contemporary readers as remarkably modern. Third, the resulting novel is a nearly omnipresent subtext in the canon of Spanish (if not world) literature from 1605 on. One example of this subtext lies in Carmen Martín Gaite's El cuarto de atrás (1978), which exhibits a clear intertextual dialogue with the seventeenth century masterpiece. As this article will demonstrate, reading each novel in terms of the other provides a rich opportunity for re-examining the inner needs of each protagonist, especially with regards to the role of literature in his or her life. In each novel, literature allows for the protagonist's posterity, offers him or her a necessary escape from "real" life, provides a model for behavior, and inspires serious discussions of literary theory and criticism.
Courting Don Quixote: An Aulic Frame of Reading
D ESPITE THE CURRENT SUCCESS of aulic Studies in early modern history, the court did not exist as a research topic on its own until well into the 1980s. Before then, historians tried to compile all the information they could with the hope of being able to reconstruct a "perfect" narration of their national history. In the twentieth century, it was argued that a collection of data reflects not only objective information, but also the personality, interests, goals, and beliefs of the collector and his or her society. The ideal of "Total History"-the aspiration to write an indisputable and objective narration of cultures and nations has disintegrated. Historical studies have since diversified into multiple circumstantial, inapprehensible and subtheoretical pieces. It is in this context that the subfield of "court history" has been able to grow in recent decades. In many instances, court history studies what happens behind the scenes of major historical events, and therefore its findings and achievements were often neglected or diminished by the traditional notion of history. In court history, secrets and rumors, games, friendships, and personal preferences are more important than facts, battles, and offices.